Abstract
The smokestack was in the 1920s a popular motif of the Neues Sehen (New Vision) in Germany. In this turbulent decade of rapid modernization it was regarded as the icon of modern engineering. The smokestack symbolized its forward-looking progressive force and offered a variety of challenging visual options. As a leitmotif it was explored in the most important photobooks, which emerged as a new genre in mid-1920s Germany.1 Laszlo Moholy-Nagy’s Malerei, Fotogra e, Film (Painting, Photography, Film, 1925), Alfred RengerPatzsch’s Die Welt ist schon (The World Is Beautiful, 1929), Franz Roh and Jan Tschichold’s Foto-Auge (Photo-Eye, 1929), and Werner Graff’s Es kommt der neue Fotograf (Here Comes the New Photographer, 1929)—every one of them
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